1 My Play Script HOMER JOURNEY HOME A five act screenplay By Thomas McClure Act I Prelude CHILDHOOD Journey to OZ Act II Mockingbird YOUTH Act III Revised Synopsis MANHOOD Act IV Scenario Beginning AGEING Act V Portland Noir Script LONGING FILMSCRIPT Any resemblance to characters living or dead or imaginary are purely circumstantial. PORTLAND NOIR ProfessionallcFilm Copyright 2008 Click to buy NOW! P D F - X C h a n g e w w w . d o c u - t r a c k . c o m Click to buy NOW! P D F - X C h a n g e w w w . d o c u - t r a c k . c o m
Transcript
1
My Play Script
HOMERJOURNEYHOME
A five act screenplayBy
Thomas McClureAct IPreludeCHILDHOOD
Journey to OZAct II
MockingbirdYOUTHAct III
Revised SynopsisMANHOODAct IV
Scenario BeginningAGEINGAct V
Portland Noir ScriptLONGING
FILMSCRIPT
Any resemblance to charactersliving or dead or imaginaryare purely circumstantial.
DOROTHY, SCOUT-TINMAN, JEM-SCARECROW [DILL-GUY LION] and TOTO walk through athick forest in the Land of Oz. Dorothy carries a basket, the Tin Man carriesan axe and an oil can. The road is paved with yellow brick and is coveredwith dried branches and dead leaves. The Emerald City is seen far in the
distance. [DOROTHY AND TOTO are the narrator in this child play.]
DOROTHY
It's really scary in these woods!
They hear a deep growl from wild animals in the trees!
DOROTHY
What was that?
JEM
Hopefully not a beast who likes to eat straw!
Toto stands at attention with his ears perked up.
DOROTHY
How much longer before we are out of this forest Tin Man? I don't like ithere!
SCOUT
I really can't say. I've never been to the Emerald City. My Father told methat it is a long and dangerous journey! I am not worried because I have myoil can for my joints. Besides, you have the kiss from the Good Witch. That
will protect us from harm!
DOROTHY
What about Toto? We have to protect him.
Toto starts to bark and growl at a tree in the forest. We hear a loud roarand from behind, a tree leaps a large lion. The Scarecrow, Tin Man and
Dorothy hide behind each other while Toto fearlessly starts to nip at thelion. The lion picks up Toto with his large teeth and shakes him. Dorothy
slaps the lion across the nose. The lion drops Toto.
DOROTHY
You should be ashamed of yourself! Why don't you pick on someone your ownsize!
Gee, that's -- that's awfully nice of you. Imagine what I could do with a bitof courage!
SCOUT
I can already hear my heart beating!
JEM
A brain! Oh boy!
DOROTHY
And I can go home! Let's go gang! We are off to the Emerald City to see theWizard!
Toto barks at the Lion who walks beside Dorothy. The lion reaches down andpets Toto on the head and they become friends. The group set off down the
yellow brick road toward the Emerald City.
EXT.FOREST.NIGHT
Dorothy, Tin Man, Lion, Scarecrow and Toto camping out under a large tree inthe forest. The Tin Woodsman is chopping a pile of wood with his axe while
Dorothy builds a fire. She and Toto eat the last of the bread.
DOROTHY
I wonder what we will do for breakfast?
GUY
If you wish, I will go into the forest and kill a deer for you. You can roastit by the fire, since your tastes are so peculiar that you prefer cooked
food, and then you will have a very good breakfast.
SCOUT
Don't! Please don't! I should certainly weep if you killed a poor deer, andthen my jaws would rust again.
Lion saunters away into the forest. Scarecrow finds a tree full of nuts. Hishands are padded and clumsy but he patiently fills the basket while trying to
stay away from the fire.
EXT.RIPPLING BROOK.DAY
Dorothy washes her face in a rippling brook. Toto plays in the water. Whenshakes himself dry which alarms Tin Man.
The group prepare themselves and continues their journey to the Emerald City.
EXT.THE GREAT DITCH.DAY
Dorothy, Scarecrow, Tin Man, Lion and Toto come to a great ditch that crossesthe road divides the forest as far as they can see on either side. It is a
very wide ditch. They creep up to the edge and look into it.
SCOUT
It's very deep
JEM
Hellooooooooooooo?
Scarecrow's voice echoes through the ditch.
GUY
There are big, jagged rocks at the bottom. The sides are too steep to climbdown!
DOROTHY
(despairingly)
What shall we do?
SCOUT
I haven't the faintest idea
GUY
Nor I.
JEM
We cannot fly, that is certain. Neither can we climb down into this greatditch. Therefore, if we cannot jump over it, we must stop where we are.
Then we are all right, you can carry us all over on your back, "one at atime."
GUY
Well, I'll try it. Who will go first?
JEM
I will, for, if you found that you could not jump over the gulf, Dorothywould be killed, or the Tin Woodsman badly dented on the rocks below. But ifI am on your back it will not matter so much, for the fall would not hurt me
at all.
GUY
I am terribly afraid of falling, myself, but I suppose there is nothing to dobut try it. So get on my back and we will make the attempt.
The Scarecrow climbs upon the Lion's back, and the Lion walks to the edge ofthe ditch and crouches down.
JEM
Why don't you run and jump?
GUY
Because that isn't the way we Lions do these things.
Then giving a great spring, the Lion flies through the air and lands safelyon the other side.
DOROTHY
Yay! Lion, you did it!
Dorothy takes Toto in her arms and climbs on the Lion's back, holding tightlyto his mane with one hand. The next moment they are flying through the air
landing safely on the other side.
The Lion goes back a third time for the Tin Man. They all sit down for a fewmoments to give Lion a chance to rest. He is out of breath and panting like a
30 Then Saul’s aanger was kindled against Jonathan, and he said unto him, Thouson of the perverse rebellious woman, do not I know that thou hast chosen theson of Jesse to thine own confusion, and unto the confusion of thy mother’s
nakedness?
Fate is the heavy hand of history and the forbidding inevitable future uponthe enduring presence of a man among other men and women in his life.
What was inevitable in Saul's life was the perverse rebellious woman who wasJonathan's mother, who gave birth to confusion in his choice of David.
This trilogy is written to examine other's feelings and attitude toward gays.My hope is that we can see into ourselves more attitudes of volunteers thanvictims, more giving than taking, more faithfulness than faithlessness.
If man yet will enter into his heartby the power of God,
he will see what God hath preparedfor them that love him,
for the Spirit will enlighten him,making known unto him
the secrets of God's will.
This story trilogy may be outrageous,as if we must be free of rage at stories.
But it is the fact that we feel rage about things that reveal our values andprejudices. Tad Walch said about Mike Sager's Wounded Warriers,"Gritty 'Warriors' …" [SLC, Utah Des News, Sun Nov 9, 2008. E5],
"A half of his brain that still works to remember the name of … that guy.""… maybe you should avert your eyes, but … should [not] … we need to know,what these men and women feel and experience so we can empathize and act."
Who are we? If Christ is like us among us, then Guy like me is anotherrevelation of myself. There, but for the grace of God, go I. I, here by
grace.
This theme will be made manifest in three stories: (1) TKMB, from To Kill aMocking Bird, by Harper Lee, (2) SC, from Snow Crash, by Neil Stephenson, and
(3) TMF, from The Maltese Falcon, by Dashell Hammett, a screenplay.
Confusion is the name of these synopses. The name comes from I Samuel 20:30.After King Saul becomes angry with his son Jonathon, together with David, who
are confused, as was his mother's nakedness.
In the first screenplay, TKMB, Harper Lee for Scout has confused her brother,Edwin for Jem, with Truman Capote for Dill. Truman has confused Perry, themurderer, with Harper for her brother, for Scout, for Edwin for Jem. Jem isher imaginary creation. Truman and Harper have a confused relationship.
When Scout and Jem find that Dill gave up his life in suicide they do notglorify self-demise. But they see more clearly that neither one is to blame.
They are blameless and faithless. What they must get is faith to makeprogress. Losing blame does not make faith happen. Only volunteer of selfdoes that. Self-in-death can never become an escape from this probation.
III. Synopsis of Snow Crash
Both are seeking what they cannot have. It is this confusion -- of seekingwhat we cannot have; that is at the bottom of this back-story. It is a storywe all see clearly in our own disjointed life of wanting what we cannot gain.
Ernest Hemming found in The Sun Also Rises that the haunting theme of samesex attraction permeated life in Paris. It was the impossible consummation ofsexual longing in Jake - a dysfunctional apparatus; he is incapable of makingthe object of his love find sexual ecstasy. It was seeking for what he could
not find. And also finding the same happening in another.
IV. Synopsis of The Maltese Falcon
The theme of wanting what we cannot have brings us confusion. Our escape isto stop blaming others or us. It is to see us more like volunteers rather
than victims, giving charitable services to others at our own expense. It isto become selfless instead of selfish. But it is not giving up in self-death.
V. Synopsis of the Novella of the Wizard of Oz.
Substituting for the Tin man, the name of Scout, who has no heart; she isheartless. Substituting for the Straw man, the name of Jem, who has no brain;he is brainless. And substituting for the Lion, the name of Guy, who has nocourage; he is fearful. These three are themselves this trilogy. TKMB is the
heartless Scout; SC is the fearful Guy; TMF is the brainless Jem.The Novella allows us to see the yellow brick road as a journey to the
Emerald City of the Future, where lives the Wizard of Oz. Dorothy and Totomay be both Scout and Dill interchangeably as observers or participants.
No amount of wishing for Oz can make these things change. Even they cannotmake themselves fearless, brainy, or hearty. Harper cannot be a boy; ever sheis a girl. Truman can never be masculine; ever he is a girlish boy. Edwin can
never be Jem; ever he is married, dead, and imaginary. Guy cannot bestraight; ever he is gay. Dill can never be Truman; ever he is Guy.
Dill will wade into the gang of tough guys protecting their turf in TKMB.Truman will wade into NYC with a torrent of words, brilliant in OVOR, OtherVoices, Other Rooms, and his novel about what might have been what he is.Harper too wades into NYC, more recognition for a recluse she avoids them.
VI. Conclusion
In short, the theme of this drama is that the cards dealt to us cannot bechanged - no matter how we play them. Jem will get married and then die - hecannot live on to change things for Scout and Dill. Even through both ofthem, they hope to change the unchangeable by writing it into their books.
Harper cannot make Dill marry her; even he has asked her to be his intended.Truman cannot marry Harper, even he has kissed her naked in the stream.
Both are sexual cripples to their fondest hopes and dreams. Like Jake and theEnglish Lady, they long for the lust lost to them. They cannot soap it over.
When Jem and Scout volunteer instead of victimize, they cease to blamethemselves or God. But they are nevertheless victims of a fate, to them worsethan death. Perhaps they should give up on life like the one Guy did. Buthope is still there in a promise of a life next where all things, evil orgood, are made right. In this life, they must persist on in love for one
another.
TKMB confuses us between Jem and Dill. Edwin died in real life. Scout andDill live on. But Dill is Guy and Guy is gay. No hiding can confuse us
readers.In OVOR, Joel and Isabel wrestled in soapy nakedness; neither can say why.But Joe and Isabel live on in Harper and Truman. Both are confused by fame.
Fame makes her a recluse, and fame makes him flamboyantly famous.
In between, TMF and TKMB is Paranoid Park, PP. It is the story of a boyskateboarder who kills another man on a train -- the yellow brick road. He isconvinced by a nice girl to write his story. It is clearly something morethan stories about solving a murder case. It is about a crime we do not
really see.TMF brings us back to the reality of Bogart and Astor. He has a thing for
Our one boy alone against other boys has fallen down.Jem is clubbing the schoolboys with the skateboard.
A one, he only hits one schoolboy.If he misses the other schoolboys.
Moreover, she only hits one schoolboy.At last, she misses the other schoolboys.
Tomorrow, she helps JemOnce she clears the schoolboys away.
They are yelling tauntsabout the one boy alone.
The schoolboys are yelling at Guywith ugly taunting words.
Guy is reacting to yelling in his ears.
Not that the ugly words hurt more than blowsTo tell, he tries to bury himself by holding his ears.
Everybody but he cannot keep the sound awayNow he falls down.
However, this too cannot keep the sound outOh, he accepts a blow to his head.
Yet, just one blow does not do it allIn addition, he asks for more of the same.
They fight about his attraction, but he will not heed them.
Neither the lone boy against other boys is hitting and missing them,Accordingly, they do clear away.
Guy is falling down into a kind of self-burial,self-denying, self-serving death of heart.
Or Guy lived a bachelor life without womenWhy, other schoolboys taunted him.
This Guy was afflicted with self-denyingSo he trying to bury himself in his sins.Moreover, Guy served no one nor himselfNo he is feeling death in his heart.Or one boy alone is stone cold dead,
or the lone boy and girl departand run for his hide away.
Jem is finding Guy dead as cold stone.
Or Scout pulls on Jem's arm,Also she is leading him away from Guy.
That Jem pulls on Scout's arm,Show he is leading her away from Guy.Nevertheless, Jem cannot stay with GuyShow Jem and Scout run away and hide.
OpeningA girl friend of that lone boy throws him her skateboard.
Scene 3
8 JOSEPH AND THE WIFEJoseph was a pretty boy, a very handsome kid
His boss' wife she eyed him, and straight'way flipped her lidShe grabbed him by his you-know-what, and sat him on her lapBut Joey wouldn't fall for that - he knew she had the clap!
Scout, girl friend of Jem, throws to him her skateboard.
Scene 3*OPENING SCENE
One boy alone against other boys has fallen down.Jem clubs the schoolboys with the skateboard.
Jem: {aside} "This is it. Is it?"
FIRST DOWNTURNBut he only hits one schoolboy.
So he misses the other schoolboys.Scout: {aside} "This is what?"
SECOND DOWNTURNBut she only hits one schoolboy.
So she misses the other schoolboys.Jem: {aside} "The future, where it all ends."
CLOSING SCENEShe tries to help himBut she helps Jem
So she clears the schoolboys away.Scout: {aside} "It's a new beginning." (OG p, 1)
Scene 4
17 ANNANIASAnnanias dodged his taxes 'cause he didn't want to payHe fixed it up with Sophie and he told her what to say
But they got a little nervous and they couldn't throw the bluffSo they bury Annanias and they confiscate the stuff
They are yelling taunts about the one boy alone.
Scene 4*
The schoolboys are yelling at Guy with ugly taunting words.
14 THE PRODIGAL SONThe prodigal son came home at last, so runs the Bible taleHe gobbled up the fatted calf and washed it down with aleYour appetite, his father said, astounds me, I confess
I know it, Pop, the lad replied, I've just come home from Mess.
ConflictThis boy named Jem.
Scene 7*OPENING SCENE
Jem has let his appetites overwhelm him as if they were schoolboys.Jem: {aside} "I had no opinion of it."
FIRST DOWNTURNBut he cannot play the good sonSo he plays the Prodigal son.
Scout: {aside} "Did you discuss it with him?"
SECOND DOWNTURNBut he cannot play the bad sonSo he plays the Prodigal son.
Jem: {aside} "No. I congratulated him." "Why?
CLOSINGBut he cannot be both good and bad
So he is both bad and good.Scout: {aside} "Because that was what he wanted." (OG, p. 15)
Scene 8
3 CAIN AND ABLECain he raised potatoes and he peddled 'em in townAbel called him hayseed every time he came aroundCain he laid a stick o' wood on brother Abel's head
And when he took the stick away, he found poor Able dead.
ResolutionAnd this girl named Scout.
Scene 8*OPENING SCENE
Scout has let her appetites overwhelm her as if they were schoolboys.Scout: {aside} "So what shall you do with the rest of your life, friend Jem-
One boy alone against other boys has fallen down.Jem clubs the schoolboys with the skateboard.Jem: {aside} "What is it about you both?"
FIRST DOWNTURNBut he only hits one schoolboy.
So he misses the other schoolboys.Scout: {aside} "Which both?"
SECOND DOWNTURNBut she only hits one schoolboy.
So she misses the other schoolboys.Jem: {aside} "What sort of friends were you?"
CLOSING SCENEShe tries to help himBut she helps Jem
So she clears the schoolboys away.Scout: {aside} "Perhaps you should have been." (OG p, 43)
Ending
20 FINAL VERSENow, good folks, we've told you all the dope;
We're sure we've done you lots of good, at least, that's what we hope.Methuselah wrote these very words when he was but a youth,And we have it from the old boy that every word's the truth!
They were like a cheap drawn out low budget B movie, but he wouldn't have itany other way. O. H. wasn't your average run of the mill detective; he
invested interest, ideals, and determination into his cases. If someone hiredhim to see: if his wife was cheating he would find out, he would also findout how long, when, where, and how, and every Tom, Dick, and Harry the lady[Yours Truly] had been with. That's how he worked, he never would invest too
much emotion into a case.
YOURS TRULY and OUR HIROenter from the hall.
YOURS TRULY{You aside}
[In the house of Da5id.]OUR HIRO
He lays his hat, sits down. {You aside}"He [Da5id] don't like this [country]."
YOURS TRULYShe sits on a chair, facing him.
She looks at her fingers,working them together. Then: {You aside}
" [he] ought to stay at home."OUR HIRO
Come Come, Y. T.{You aside} "[she] wants other people's things."
YOURS TRULY{You aside}
"Why not help [me]?"OUR HIRO
He makes a polite smile.{You aside} " [as] If I got [everything]
YOURS TRULY(she stammers,looks at himwith miserablefrightened eyes)
{You aside} " like you [have], ."OUR HIRO(lightly)
Y. T. -- is your name Trulyor Yours? {You aside}
" I [would] make [things] much better."YOURS TRULY
(working her fingers again)It's really Y.T. for Yours Truly.{You aside} "I never made anything"
(her face becomeshaggard, eyesdesperate){You aside}
"I have made a really good start."
Scene 3VOICEOVER
Preferring to be as cold and complacent as possible, he worked that way.These people weren't his friends they were nothing more than a businesstransaction. Things ran smoothly like this until that October afternoon.
Part TwoThere was a slight tap and knocking of the door,
while O. H. motionedthe woman to precede and come in,
O. H. sitting up now, leaning forwardand questioningly asked
"And why hire me?" he asked the woman.The woman was keeping her cool
and was remaining levelheaded on things.YOURS TRULY
(her voice thinand tremulous)
OUR HIRO?{You aside} You like my new suit?"
OUR HIRO{You aside}
"Perhaps it's your clothes"YOURS TRULYOUR HIRO?
{You aside} "Aren't you?"OUR HIRO
{You aside}"I have to dress pretty good in this business."
Scene 4VOICEOVER
"Let's just say that you were highly recommended". The woman said and walkedout. [She was] leaving O. H. behind the desk with a look of puzzlement anddisarray about him, questioning just what he had gotten himself into. It was11 o'clock [pm], the dark night sky cloaking everything but the light of the
street lamps. She was walking down the street on her way to her hotelapartment, D1, in the Lower East Side of Manhattan; wearing her best swanky
She past the many reporters and onlookers, pushing past the unrelenting outfor blood photographers and remained focused and centered on one thing: the
door.
As broken glass hit the ground with every flash of the bulbs, photographersquickly exchanging them out for a new one, hoping to get that one lucky shot
that could make front-page news. She made her way up the steps to theentrance of the apartment building, the door man upon seeing her quickly
opened the door and hurried her inside.
OUR HIRO empties his lungswith a long sighing exhalation.
OUR HIRO" OUR HIRO."
{You aside} " that makes the difference."Scene 6VOICEOVER
The sunlight beamed down assuring a brand new day. It was 4:15 pm, just thetime that the woman [not Yours Truly] told him to meet her the young starlet[Y. T.] outside her hotel. He made himself indiscrete and unnoticeable, which
was easy in his line of work. He was told she would be sporting a whitedress, black sunglasses, and have short hair. His objective: to follow thislady in white [Y. T.], so he did as she walked down 6th avenue to the corner
of 5th street, and called a cab. Then she took the alleyways.She jumps to her feet.Her face blanchingpainfully, but
she holds her head erectand she
looks OUR HIROstraight inthe eye.
YOURS TRULY(voice chilled)(lips tremblingslightly, but
head still erect){You aside} Look at you. You owe me.
Scene 7VOICEOVER
Which, after O. H.'s further investigation, led him to several back alleys.While trailing her though, he would always notice the fact that she was aware
of his presence. In all likelihood, this was perfectlyplausible, but deciding to ignore this fact as he continued with his routinesurveillance. It was then that she sat down at the local café and he drew up
a newspaper looking inconspicuous. "Are you quite finished following me? Imean I know everyone loves me."
OUR HIRO's face darkens.He looks down at the floor.
OUR HIRO(muttering)
{You aside} "'Look, all of you, I owe this woman nothing.'"YOURS TRULY comes back
and stands in front of him,holding the hat
for him to take if he wishes.Her face is thin, haggard.{You aside}"Look at me."
OUR HIRO(looking at his hat)
{You aside} What a prince I am!She puts his hat down, slips down onto the chair
again. YOURS TRULY shakes her head and says nothing.{You aside}" won't you make Prince behave?"
YOURS TRULY{You aside} I deserve that.
OUR HIRO{You aside} Now, you are dangerous.
Scene 8VOICEOVER
"But usually men buy me dinner first," she let out laughing. Startled by thissudden spark of conversation,
he had nothing to do other than to reply "Well what's on the menu?" Laughingquietly to herself the woman flipped her hair behind her ears while drawing
her sunglasses up, and with an outstretched hand said,"Well, hello I'm Y. T." [Yours Truly]. He nodded replying, "O. H." he said.
[Our Hiro] She looked at him with a sudden acknowledgement,"Ah, where have I heard that name before?!"
OUR HIRO{You aside}"This old chap will be proposing to you someday."
YOURS TRULY(tears glistenin her eyes,her voice is
hoarse, vibrant)(she turns onhim suddenly --
cries in avibrant voice)
{You aside}"Oh, he has -- often!"Scene 9VOICEOVER
A glow of light-hearted happiness seemed to radiate from her. She tucked oneof the many loose tussles of hair behind her ear, "No not at all, but I findit a ridiculous notion that they could keep the slightest thing from me.
Although it is pleasant to hear that they care so much!" she responded. Witha look of uncertainty, he said in a questioning manner, "Any idea why that
is?" Letting go a youthful smile she said "Well, because O. H."OUR HIRO takes her face between his hands,
kisses her mouthroughly and contemptuously,then releasing her, he sits
back.{You aside}"Every handsome girl like you marries."She sits, holding her face where his hands left it.
{You aside} "Of course!"OUR HIRO gets up,
takes two steps towards the wall,halts.
{You aside} "Nonsense!"YOURS TRULY doesn't move.
{You aside} "Haven't I been nice to you?"
Scene 10VOICEOVER
"I'm Yours Truly, a reckless, irresponsible Playgirl". Even he, the cold andcomplacent man he always was said to be couldn't help but be attracted to herbluntness. She said what needed to be said and herself, Oh you poor thing!"she exclaimed with her hand covering her mouth. And pretty soon she began to
comment on a lot of things: from the way he dressed, the content of hisconversation, even down to how he flossed his teeth.
OUR HIROHe turns to face her.
{You aside} "You are going."YOURS TRULY
{You aside} " but you haven't gone yet, have you?"OUR HIRO
{You aside} "You were such a funny kid!"She bites her lip, looks down.
{You aside} Not me."Scene 11VOICEOVER
It seems for O. H. that Y. T. had become nothing more than an annoyance.However, as hours became days and days became weeks, their understanding forone another flourished. This eventually budded into an odd kind of acceptanceof adoration towards one another. And then one night, under the clear blackof the night sky, while looking up from the city streets below Y. T. said"Isn't it marvelous! I've never seen the sky so clear! It's just stunning,
the stars are completely lovely."
YOURS TRULY{You aside}"We better keep away from each other."
OUR HIRO(casually)
{You aside} " [there] Isn'tShe gets up and stands looking
down at him with dark abashed eyes.YOURS TRULY
{You aside} " anything we can do about it?"OUR HIRO
(good-humoredly){You aside} "There is not a damn thing we can do."
slightly -- whispers){You aside} "We better keep away from each other."
OUR HIRO rises, crosses to her.He puts his hand under her
chin, lifts her head.Her eyes are damp.He laughs into
them.{You aside}"I have to see you."
Scene 12VOICEOVER
As she said this, O. H. fought the urge inside to embrace her. Over thesepast few weeks he felt he had gotten closer to Y. T., despite her ups and
downs, and highs and lows; he was growing to love her."O. H. is there anywhere you've always wanted to go in your life? I havealways wanted to go to Italy. I always thought it was a place onto itself,the art, and the fashion! It's surprising I have yet to go in my lifetime
considering what daddy had.OUR HIRO
{You aside} "Don't we always pay.YOURS TRULY
(her eyelids droop)Oh -- I'm so tired.(then tremulously)
{You aside} " for the things we do, though?"
She puts her hands upto OUR HIRO's cheeks,
her mouth hardagainst his mouth --
her body flat against his body.OUR HIRO's arms go around her,
holding her to him.{You aside} "I'm paying for it all now."
Muscles bulge [no sleeves] ashis hand cradles her head,
He had us traveling all over Europe when we were younger. I suppose somehowItaly just managed to skip me by." she said. Then with a short blank stare
and a deep sigh she let out a hopeless moan, then all of a sudden struck withthe spark of an idea she blurted out "O. H.! Let us runaway to Italy, justthe two of us wouldn't it be lovely?!". Indeed it would be lovely, O. H.
thought to himself, but he hadalready broken his own rules.
OUR HIROand good luck.
OUR HIRO slowly replaces the receiver.He fills his chest with air and exhales.
His eyes are glitteringbetween narrowed lids.
{You aside} "I never think about it."He turns, takes three swift steps
toward YOURS TRULY The girl,startled by the
suddenness of his approach,lets her breath out in a little
gasp.{You aside} "Oh no. I'll lay you don't."
OUR HIRO, face to face with YOURS TRULY,
looks at her hardof jaw and eye.
{You aside} "I laughed about it, too, myself"OUR HIRO
{You aside} "Once"She starts to speak, hesitates, bites her lip.
{You aside} "NoOUR HIRO takes
her by the shoulder, cries angrily:OUR HIROTalk.
Scene 14VOICEOVER
He had to finish this and settle it like nothing more than business. "No, Ican'tI won't. Despite what you think, lady we're not friends or lovers here,so, I'm not going to Europe with you or anyone for that matter. Okay kid?".As he said those harsh bitter words, the sounds seemed to pierce him as hespoke them, his face was cold but inside he became a mess. Growing chaos
within him, he argued with every side of himself and every core of his being.YOURS TRULY(uncertainly)
It hurt him more to hurt her than it would ever have Y. T. he thought. Y.T.'s eyes full of misunderstanding and hurt, unflinching and uncontrollable,she called a cab, Then she decided against it. "I'm going home" she said, asshe went into the dark, sinking into the darkly lit shadows, smoke ridden,back in the shadows. Little did O. H. know that this would be his last timeever seeing Y. T. again. He was feeling badly about the way he left things.
YOURS TRULY{You aside} "I was sure you hit him."
OUR HIRO{You aside} "I still think you hit him."
She nods mutely.OUR HIRO
{You aside} "I'm sure I missed him."She puts her hands up aroundthe back of his neck pushinghis head down until his mouth
all but touches hers.
YOURS TRULY{You aside} You hit him.He puts his arms around
her holding her tight to him.Scene 16VOICEOVER
He had left things poorly the previous night, O. H.had gone to Y. T.'s Soho apartment with the full intent of apologizing. Hefelt things badly. As he buzzed the buzzer no one answered and eventually aneighbor, of what appeared to be of Chinese descent, had to let him in. As he
walked up the stairs he felt something was wrong, he had ignored hisinstincts long enough. Something was wrong. He proceeded up each stepcautiously, one by one, until he was at her door. It was open, probably
because of the fact that she was so distraught the previous night; she hadforgotten to close it fully all the way. O. H. approached the door.
OUR HIRO(tenderly)
{You aside}"I was thinking we should be partners."She draws away from him slightly,
throws her head far backto stare up at him, uncomprehending.
{You aside}"The same thing occurred to me."OUR HIRO(tenderly)
He puts his hand up and caresses her throat.{You aside}"But I have to think how it would work."
In an instantshe is out of his arms
back against the wall crouching,both hands spread over her throat.
Scenes 17-20 repeat the {You aside} because each scene is a repeat of scene16, somewhat like CHINATOWN FAYE DUNAWAY SCENE.
Scene 17VOICEOVER
He is pushing the door open with his end of his now drawnpistol. The apartment, despite the fact that it was morning, appeared darkwith the blinds drawn and black curtains hung. Cigarettes slowly sat burningout in the ashtray on the counter. The only light on in the apartment was
that of the bathroom as it could be seen resonatingin the crack underneath the door. As O. H. approached the bathroom, uncertainof what he might see, he was for once in his life truly afraid for his truly
yours.YOURS TRULY(in a small,parched voice)
{You aside} "The same thing occurred to me."(She can get noother words out)
OUR HIRO's face is dampwith sweat now.His mouth smiles
and there are smile wrinklesaround his glittering eyes.
OUR HIRO(gently)
{You aside}"I was thinking we should be partners."(he clears his
throat){You aside} "But I have to think how it would work."
YOURS TRULYdrops her hands, stands erect.
Her face becomessmooth and untroubled
except for the faintest of dubiousglints in her eyes.
She smiles back at him.YOURS TRULY
{You aside} "The same thing occurred to me."She breaks off,
thrusts her head forwardand stares deepinto his eyes.
The flesh around her mouth shivers and fearcomes back into her eyes.
She puts her hands to her throatagain.OUR HIROlaughs.
His laugh is a croak.{You aside} "I was thinking we should be partners."
OUR HIRO{You aside} "But I have to think how it would work."
{You aside} "The same thing occurred to me."Scene 18VOICEOVER
Reaching for the knob of the door, he turns it; it's locked. Frantically helooks for a way to open the door, a key or something that will permit him
entrance.Finally, he breaks down the door, looking down his heart sinks. He, is
emotionless, dead, and cold;unable to process what had happened. Grasping with disbelief, on the floor,his eyes traveled from the matches, [she was] left loosely scattered about,
to the spoon lying upon the tiled floor.
The muscles holding his smilestand out like walls.
OUR HIRO{You aside} "I was thinking we should be partners."
YOURS TRULY(tears come to her eyes)
{You aside} "The same thing occurred to me."OUR HIRO
{You aside} "But I have to think how it would work."YOURS TRULY blinks her tears away,
takes a few steps backward,stands looking at him,straight and proud.
YOURS TRULY{You aside} "The same thing occurred to me."
OUR HIROHe puts his hand back on her shoulder,
the hand shakes andjerks.OUR HIRO
{You aside} "I was thinking we should be partners."She takes his hand from her shoulder,
holds it close to herface.
YOURS TRULYOUR HIRO?
{You aside} "The same thing occurred to me."He is no longer smiling.
He pulls his hand away from her.His wet face is set hard and deeply lined.
His eyes burnmadly.OUR HIROListen
{You aside} "But I have to think how it would work."
The spoon gave a hint of death still lingering on its tip.O. H., still to this day, blames himself.
Part ThreeLooking out the window onto the rainy Italian streets below he remembers; heremembers her. Sam Spade, Our Hiro, came to Italy for her, Yours Truly, to do
what she couldn't do;he came with her, he came to runaway with her. It was the case that finally
killed him, it was the woman, the lady that killed him.OUR HIRO
First: Me andSecond: you.
{You aside} "I was thinking we should be partners."YOURS TRULY
{You aside} "The same thing occurred to me."OUR HIRO
Third. You and next: me.Fifth. Me andAnd sixth: you.
Maybe you love me andmaybe I love
you.{You aside} "But I have to think how it would work."
YOURS TRULY(whispers)
{You aside} "The same thing occurred to me."OUR HIRO
He looks hungrily from her hair to her feet and up to hereyes again.
{You aside} "But I have to think how it would work."OUR HIRO
(he takes herby the shoulders,bends her back
leaning over her)(he takes hishands from
her shoulders,lets them fallto his side)
{You aside} "I was thinking we should be partners."
Scene 20VOICEOVER
Sitting in the darken room, silhouettes' cast by the moon light, a singlestrand of white smoke is seen from the end of his cigarette, dimly lit in theroom. He sits inside, on the chair by the window. He came for her to this
place under the stars that skipped her by. He ran away with her.Time seemed to elude him now. And like the old flicker shows he used to see
on cold autumn Brooklyn nights these memories played out before him.She puts her hands up to his cheeks,
draws his face downtoward her again.
YOURS TRULY{You aside} "The same thing occurred to me."
{You aside} "But I have to think how it would work."OUR HIRO moves his shoulders
a little.OUR HIRO
{You aside} "I was thinking we should be partners."YOURS TRULY(whispers)
{You aside} "The same thing occurred to me."OUR HIRO
(his voice ahoarse creak)
{You aside} "But I have to think how it would work."She puts her mouth to his slowly and is in his arms when
there is a knock at the door. Before he releases her he calls:Scene 21VOICEOVER
Sam Spade, Our Hiro, was a quiet man, though a man with a great sense ofjustice. As he sat there gazing out the window onto the Italian Veranda,
lighting a cigarette he became lost in thought and sat alone in the dark roomas the smoke created a dim whiteness; we call this Noir.He became lost in these thoughts, in these memories.
OUR HIROMED. SHOT - ROOM - ANGLE ON DOOR
OUR HIROSwell {You aside} "I was sure you hit him."
(He pushes YOURS TRULY forward)YOURS TRULY's face and movements
are like a sleepwalker's.{You aside} "I still think you hit him."
OUR HIROYour OUR HIRO's a detective.
{You aside} "I'm sure I missed him."YOURS TRULY
Cut it out, OUR HIRO.{You aside} You hit him.
OUR HIROWhat is it?
The stuff that dreamsare made of.
Scene 16A screenplay within
a screenplay["About Women… "Redbook, June, 2007]
OpeningThe lightest, feathery, teasing touch … the face, hair, neck, and sides ofthe body. Playful, building anticipation, make a game out of getting there.
Culminate into something more just a female arousal of her anatomy.
First DownturnChange the rhythm with some music, stroke his chest or his back.
Arousal and desire are all about attention. Take seriously his sick, perverseneeds, dress provocatively, a different perfume, tight fitting tee.
Stroke your back in a "come hither" fashions, what puts you over the top.
YOURS TRULY
She draws away from him slightly,throws her head far back
to stare at him, uncomprehending.
{aside} "The same thing occurred to me."
Second DownturnTo date, I have never said that while holding up my boxers. Two shower.Prancing into the room in a negligee, extra long kiss when he comes in.
Take turns satisfying each other, seeing the invisible golf ball fall in cup.
OUR HIRO(tenderly)
He puts his hand up and caresses her throat.{aside}
"But I have to think about how it would work."
ClosingIt's normal with age to wax and wane if he is not getting in touch with it.
You, my beloved partner, are the one holding the key to overall joy.
YOURS TRULYIn an instant
She is out of his armsback against the wall crouching
both hands spread over her throat.Her face is wild-eyed,
haggard.Her mouth opens and closes.
Line of action: 1 of 1
What is the main character in this line of action trying to do?
This guy or me is coping with his same-sex attraction or self-hatred.
Opening: How does this line of action begin?
He meets girl in his dark crime apartment for purposes of evil seduction.
The Evolution of a Character in Portland Noir.By Thomas McClure
Couch Park is not far from Our Hiro's office in downtown Portland. He goes toa clandestine meeting there, on his way to Powell's Books. He runs intotrouble with a gang and fights his way out of it with the help of anotherskateboarder. She is dressed like him. Both are in togs with hats to the
side. They asked themselves if they hit or missed the bully.She goes to a McDonald's to change into her dress costume for home. She is
pristine, untouched, a beauty with hat, veil and gloves, heels.Yours Truly the DOLL is everyman's everywoman, a vision of lovliness, but
hard.His heart is touched by the change in this fifteen-year-old girl. He is
older, a young man, not balding, athletic, gym-trained, ambitious.So begins this sequel to Paranoid Park: Portland Noir: She could not look
herself in the mirror. Here is Scout from To Kill a Mocking Bird passing frompuberty and adolescence into young womanhood: Peaches and cream complexion,
southern drawling words and accent.Somewhere between Brigid in The Maltese Falcon, and Patsy Kelly.
Our Hiro the PRO is the young detective from whom Sam Spade evolves. Tough,hard, not-boyish, more big brother to little sister, not yet a smoker or hard
drinker. We see young Dashiell Hammett and Lillian Hellman. It is beforetheir downward demise in death and drink. We see how he cuts away every extra
word in the dialogue; how she learns from his cuts.If there ever was a morality play, this sequel achieves the dilemma of howthe Garden of Eden became Paranoid Park where love is lost. It is a lostparadise because she was tempted by evil and he was redeemed by good; he
chooses to give her up to the police;she chooses to stay jailed. She could not look herself in the mirror for what
she saw there.Burnside Skatepark is a skatepark located in Portland, Oregon, United States.
Located under the East End of the Burnside Bridge, the skatepark wasoriginally built by the skating community without permission and eventually
the city approved the area as a public skatepark.[1] The skatepark was also featured in videogames such as Tony Hawk's ProSkater, Grind Session, and Tony Hawk's Pro Skater 3. [2] Burnside was also
featured in the 2007 film Paranoid Park, as a setting for the eponymous SkatePark.
-Scout, what in the world has got into you?- I'm not going back.
- Now, now. Atticus, I'm not going back to school anymore.-Now, Scout, it's just the first day.
-I don't care. Everything went wrong. The teacher got mad as the devil atme... and said you were teaching me to read all wrong and to stop it, thenacted like a fool and tried to give Walter Cunningham a quarter... when
everybody knows Cunninghams won't take nothin' from nobody. Any fool couldhave told her that. Well... maybe she's just nervous. After all, it's her
first day teaching school and being new here.- Oh, Atticus...
-Now wait a minute. If you learn this single trick, Scout, you'll get along alot better with all kinds of folks. You never really understand a person...
until you consider things from his point of view.-Sir?
-Until you climb inside of his skin and walk around in it.
-But if I keep going to school, we can't ever read anymore.-Scout... do you know what a compromise is? Bending the law?
-Uh... no.-It's an agreement reached by mutual consent. Now... here's the way it works.You concede the necessity of going to school, we'll keep right on reading the
same every night... just as we always have. That a bargain?There just didn't seem to be... anyone or anything Atticus couldn't explain.Though it wasn't a talent that would arouse the admiration of any of our
friends, Jem and I had to admit he was very good at that. - But that was allhe was good at... we thought.
The Noir Trilogy is an unlikely To kill a mockingbird, Paranoid Park and TheMaltese Falcon.
Here is the child-narrator Scout growing up to the skateboard girl to thefemme fatalle.
Yours Truly is the fifteen-year-old girl between Scout and Brigid. Whathappened to her? This parody of Snow Crash seeks to cast Scout-Brigid as she
changes girl-woman.Changing her dress from overalls to blouse-dress in a McDonald's rest room,hiding her dress change in the ceiling. We like to think the changeling childis in her mind and body as well. When does she find that her body, her image,
her sex can affect boys and then men?Making the boy-man a 22 year-old skateboarder makes a seven-year difference
between the girl-woman of 15 years old. He is an oldster.When did they both resonant two strings moving as one? Can she look herself
in the mirror after each encounter? Is deceit habitual?The development of a character here comes twice in the growth of a child
SCOUT into YOURS TRULY, in embryo, BRIGID. And in the change in OUR HIRO whenhe meets her and he becomes him, himself, ruined beyond return.
MODUS OPERANDI
You never really understand a person... until you consider things from hispoint of view.
" The film asks the audience to understand them.This is the first film … that asks the audience to try to understand the
homosexual character along with the others in the film."On John Schlesinger, regarding Bloody Sunday (1971)[G D. Phillips. The Movie Makers, c. 1973] (p. 210)
Afterwards, Spade angrily asks Brigid O'Shaughnessy why she killed MilesArcher. At first, Brigid O'Shaughnessy acts horrified at this accusation, but[since] she cannot lie anymore, she drops the act. [S]he killed Archer andattempted to pin the crime on … Spade. [She killed Miles for the money.]
Meanwhile, Spade notices that [some kid is tailing him] named Wilmer Cook. Heconfronts the gunsel[1],…. [the young, inexperienced gun-carrying homosexual]When he arrives back at his apartment, he finds O'Shaughnessy in a shadowydoorway. Inside, Wilmer, Cairo, and Gutman are there waiting. [Eventually,O'Shaughnessy insinuates that Cairo is a homosexual, and Cairo insinuatesthat O'Shaughnessy simply uses her body to get what she wants…] … Spade saysthat they need a "fall guy" to take the blame for the murders of … Archer aswell. Reluctantly, both Cairo and Gutman agree to make Wilmer the fall guy.
[… the kid Wilmer was waiting for Gutman at the hotel and shot him when hearrived.] [Wilmer is the Billy the Kid image in all of western literature.]
[1]Erle Stanley Gardner claims that gunsel - meaning "gun-carrying hoodlum",previously meaning "young, inexperienced homosexual" - took on its newconnotation because of Hammett's book.
For purposes of compacting and condensing the plot,Miles Archer is the homosexual who was killed by Brigid.
Since Spade is Mile's 'partner', their relationship is obvious.Brigid is sexually involved with both Miles and Spade.
For purposes of creating Our Hiro and Yours Truly, he is Spade, and she is Miss Wonderly.Also he is Jem and she is Scout, andMiles is Dill, who was Truman and gay.
Atticus, Dorothy, and Toto are narrators.Kyrie is Lyric the narrator.
Ally is Miss Wonderly.The VoiceOver is a narrator.
The old professor, the washed-up director and the old detectiveare all one in the same and are narrator.
Any resemblance to charactersliving or dead or imaginaryare purely circumstantial.
roughly and contemptuously, then releasing her, he sitsback. She sits, holding her face where his hands left it.OUR HIRO gets up, takes two steps towards the fireplace,halts. YOURS TRULY doesn't move. He turns to face her.
OUR HIROI don't care what your secrets are-- but I can't go ahead without moreconfidence in you than I have now.You've got to convince me that youknow what it's all about -- that youaren't simply fiddling along hopingit'll all come out right in the end.
YOURS TRULYCan't you trust me a little longer?
OUR HIROHow much is a little? And what are
you waiting for?She bites her lip, looks down.
71.YOURS TRULYI don't know.
OUR HIRO(casually)
Your are a liar.
She gets up and stands at the end of the table lookingdown at him with dark abashed eyes.
YOURS TRULYI am a liar. I've always been a
liar.
OUR HIRO(good-humoredly)
Don't brag about it. Was there anytruth at all in that yarn?
YOURS TRULY(lowers her head
slightly -- whispers)Some... Not very much.
OUR HIRO rises, crosses to her. He puts his hand under herchin, lifts her head. Her eyes are damp. He laughs into
them.
OUR HIROWe've got all night before us. I'llput some coffee on and we'll try
YOURS TRULY(her eyelids droop)Oh -- I'm so tired.(then tremulously)
So tired... of lying and thinkingup lies and not knowing what is alie and what is the truth. I wish
I...She puts her hands up to OUR HIRO's cheeks, her mouth hard
against his mouth -- her body flat against his body.OUR HIRO's arms go around her, holding her to him. Musclesbulge his sleeves as his hand cradles her head, his fingers
lost among her hair.
FADE OUT.
Yours Truly knocks on his door radiantly beautiful. They embrace. They kiss.They leave together. And so begins the gentle slid down to hell for both ofthem.She is his double self: that portent of his doom. She is the fem fatal and heis the fatal mal. Him dead meat. She is the siren song of Homer's dream.What one fatal woman can do to entirely ruin your day. It makes a fatal manrue the day he was born.
146.OUR HIRO (CONT'D)... and good luck.
OUR HIRO slowly replaces the receiver on the prong. He fillshis chest with air and exhales. His eyes are glitteringbetween narrowed lids. He turns, takes three swift steps
toward YOURS TRULY The girl, startled by thesuddenness of his approach, lets her breath out in a little
gasp. OUR HIRO, face to face with YOURS TRULY, looks at her hardof jaw and eye.
OUR HIRO--
… about us. We're sitting on dynamite.We've only got minutes to get set…. Give me all of it fast.She starts to speak, hesitates, bites her lip. OUR HIRO takes
She puts her hands up around the back of his neck pushinghis head down until his mouth all but touches hers.
YOURS TRULYYes, but -- Oh, sweetheart, itwasn't only that. I would havecome back to you sooner or later.From the very first instant I saw
you I knew...He puts his arms around her holding her tight to him.
OUR HIRO(tenderly)
You Angel! Well, if you get agood break, you
can come back to me then.She draws away from him slightly, throws her head far back
to stare up at him, uncomprehending.
OUR HIRO(tenderly)
I hope they don't hang you, Precious,by that sweet neck.
He puts his hand up and caresses her throat. In an instantshe is out of his arms back against the table crouching,both hands spread over her throat. Her face is wild-eyed,
reason to think I can trust you andif I did this and got away with it,you'd have something on me you coulduse whenever you wanted to. Next:since I've got something on you, Icouldn't be sure you wouldn't decide
to put a hole in me some day.Fifth. I wouldn't even like the
idea of thinking that there might beone chance in a hundred that you'dplayed me for a sucker. And sixth:But that's enough. All those are onone side. Maybe some of them areunimportant. I won't argue aboutthat. But look at the number of
them. Now, on the other side we'vegot what? All we've got is thatmaybe you love me and maybe I love
you.
YOURS TRULY(whispers)
You know whether you love me or not.
OUR HIROMaybe I do.
He looks hungrily from her hair to her feet and up to hereyes again.
OUR HIROWhat of it? Maybe next month I won't.I've been through it before. I'llhave some rotten nights after I'vesent you over but that'll pass.
(he takes herby the shoulders,bends her back
leaning over her)If all I've said doesn't mean
anything to you, forget it and we'llmake it just this. I won't becauseall of me wants to -- regardless ofconsequences -- and because you'vecounted on that with me the same as
you counted on that with theothers...
(he takes hishands from
her shoulders,lets them fallto his side)
She puts her hands up to his cheeks, draws his face downtoward her again.
help. You’re good. It’s chieflyyour eyes, I think, and that throbyou get in your voice when you say
things like "Be generous, Mr.Spade."
4.
She jumps to her feet. Her face blanching painfully, but sheholds her head erect and she looks Spade straight in the
eye.
BRIGID
(voice chilled)I deserve that. But -- Oh -- thelie was in the way I said it and
not at all in what I said.
(lips trembling slightly, but head still erect)It’s my own fault that you can’t
believe me now.
Spade’s face darkens. He looks down at the floor.
SPADE
(muttering)Now you are dangerous.
Brigid O’Shaughnessy goes to the table, picks up his hat.She comes back and stands in front of him, holding the hatfor him to take if he wishes. Her face is thin, haggard.
SPADE
(looking at his hat)I’ve got nothing against trustingyou blindly except that I won’t be
able to do you much good if Ihaven’t some idea of what it’s all
about.
She puts his hat on the table, slips down onto the setteeagain. Brigid O’Shaughnessy shakes her head and says
nothing.
SPADEThat’s good -- coming from you.What have you given me besidesmoney? Have you given me any of
your confidence? Any of the truth?Haven’t you tried to buy my loyalty
(tears glisten in her eyes, her voice is hoarse, vibrant)
(MORE)
5.
BRIGID (cont’d)I’ve thrown myself on your mercy --told you that without your help I’m
utterly lost.
(she turns on him suddenly -- cries in a vibrant voice)What else is there that I can buy
you with?
Spade takes her face between his hands, kisses her mouthroughly and contemptuously, then releasing her, he sits
back.
She sits, holding her face where his hands left it.
Spade gets up, takes two steps towards the fireplace, halts.
Brigid doesn’t move. He turns to face her.
SPADEI don’t care what your secrets are-- but I can’t go ahead without
more confidence in you than I havenow. You’ve got to convince me thatyou know what it’s all about --that you aren’t simply fiddlingalong hoping it’ll all come out
moment. I really thought -- you dosuch wild and unpredictable
things...
She breaks off, thrusts her head forward and stares deepinto his eyes.
The flesh around her mouth shivers and fear comes back intoher eyes.
She puts her hands to her throat again.
Spade laughs. His laugh is a croak.
SPADEDon’t be silly. You’re taking the
fall.
10.
BRIGIDBut -- but, Sam, you can’t! Notafter what we’ve been to each
other. You can’t!
(she takes a long trembling breath)You’ve been playing with me -- onlypretending you cared -- to trap melike this. You didn’t -- care atall. You -- don’t -- l -- love me.
The muscles holding his smile stand out like walls.
SPADEI think I do. What of it? I won’t
play the sap for you.
BRIGID
(tears come to her eyes)You know it is not like that! You
can’t say that!
SPADEI am saying it. You’ve never playedsquare with me for half an hour ata stretch since I’ve known you.
Brigid blinks her tears away, takes a few steps backward,stands looking at him, straight and proud.
BRIGIDYou know, down deep in your heartyou know that in spite of anything
He puts his hand back on her shoulder, the hand shakes andjerks.
SPADEI don’t care who loves who. I’m notgoing to play the sap for you. Iwon’t walk in Thursby’s -- and Idon’t know how many others --footsteps. You killed Miles and
you’re going over for it.
She takes his hand from her shoulder, holds it close to herface.
BRIGIDWhy must you do this to me, Sam?
Surely Mr. Archer wasn’t as much toyou as --
11.
He is no longer smiling.
He pulls his hand away from her.
His wet face is set hard and deeply lined.
His eyes burn madly.
SPADEListen... This won’t do any good.You’ll never understand me but I’ll
try once and then give it up.Listen... When a man’s partner is
killed, he’s supposed to dosomething about it.
(MORE)
SPADE
(CONT’D)It doesn’t make any difference whatyou thought of him. He was yourpartner and you’re supposed to dosomething about it. Then it happenswe’re in the detective business.
Well, when one of your organizationgets killed, it’s bad business tolet the killer get away with it --bad all around -- bad for every
BRIGIDYou don’t expect me to think thatthese things you’re saying are
sufficient reason for sending me tothe...?
SPADEWait till I’m through. Then you cantalk. Third. I’ve no earthly reasonto think I can trust you and if Idid this and got away with it,you’d have something on me you
could use whenever you wanted to.Next: since I’ve got something on
you, I couldn’t be sure youwouldn’t decide to put a hole in mesome day. Fifth. I wouldn’t evenlike the idea of thinking thatthere might be one chance in a
hundred that you’d played me for asucker. And sixth: But that’s
(MORE)12.
SPADE (cont’d)enough. All those are on one side.Maybe some of them are unimportant.I won’t argue about that. But lookat the number of them. Now, on theother side we’ve got what? All
we’ve got is that maybe you love meand maybe I love you.
BRIGID
(whispers)You know whether you love me or
not.
SPADEMaybe I do.
He looks hungrily from her hair to her feet and up to hereyes again.
SPADEWhat of it? Maybe next month I
won’t. I’ve been through it before.I’ll have some rotten nights afterI’ve sent you over but that’ll
pass.
(he takes her by the shoulders, bends her back leaning overher)
INT. MILES' HOUSE/ROOM -- DAYKyrie arrives at Miles' house. No one comes to the door, soshe slowly opens it. She walks up to his room. On the wayup, she sees his guitar on the ground, and a couple strings
aren't on it. Kyrie looks really sad/confused.Kyrie slowly turns Miles' door handle, but finds that it islocked. RAP MUSIC is playing loudly in the room. She startsto nock on the door. Miles opens the door. His eyes are
super red. He smiles at her. Some smoke comes out.A LAUGH comes from behind the door. Kyrie pushes the door
open. Ally is sitting there LAUGHING.Kyrie looks way confused and hurt and looks back between
Miles and Ally. Miles doesn't say anything.Kyrie shakes her head and steps out of the room.
Miles shuts the door on Ally.She leaves. Miles opens the door and goes back in his room.He picks up a bottle and throws it against the wall. It
breaks. He turns to Ally.She quickly grabs her things while Kyrie's car starts anddrives away. Ally walks out. Miles leans against the walland slowly slides down against the wall to sit on the
DOROTHY (sings) ...Someday I'll wish upon a star And wake up where the cloudsare far behind me. Where troubles melt like lemon drops, Away above thechimney tops, That's where you'll find me. Somewhere, over the rainbow,
bluebirds fly. Birds fly over the rainbow, Why then -- oh, why can't I? Ifhappy little bluebirds fly Beyond the rainbow Why, oh, why can't I?
FIDDLERS (sing) You're off to see the Wizard The Wonderful Wizard of Oz! LAPDISSOLVE TO: ELS -- Ext. Cross Roads of Yellow Brick Road -- Dorothy and Totocome forward along the road from b.g. - CAMERA BOOMS down to left as shepauses in the center of the cross roads -- looks about, speaks -- DOROTHYFollow the Yellow Brick Road? Follow the Yellow....? MCU -- Dorothy, puzzledas she looks about o.s. -- DOROTHY Now which way do we go? LS -- Dorothystanding in the center of cross roads -- a Scarecrow on a pole in thecornfield at right -- he speaks, points to right -- Dorothy whirls about andlooks at him -- SCARECROW That way is a very nice way. CS -- Scarecrow, hisarm pointing to right -- CU -- Dorothy, a bit frightened as she looks abouto.s. - she speaks, looks down at Toto as he barks o.s. -- DOROTHY Who saidthat? CU -- Toto barking at the Scarecrow o.s. -- MLS -- The Scarecrow in thefield of corn -- Toto barks o.s. -- MCU - Dorothy looks down and speaks toToto o.s. -- DOROTHY Don't be silly, Toto. Scarecrows.... MLS -- TheScarecrow in field in b.g. -- camera shooting past Dorothy in f.g. -- theScarecrow speaks, points to left with his other arm -- DOROTHY ...don't talk.SCARECROW It's pleasant down that way, too. CU -- Dorothy reacts, watches theScarecrow o.s. -- speaks to Toto -- looks up as the Scarecrow speaks o.s.DOROTHY That's funny. Wasn't he pointing the other way? SCARECROW o.s. Ofcourse, people do.... MLS -- Scarecrow in field -- shooting past Dorothy inf.g. -- the Scarecrow crosses his arms and points in both directions --SCARECROW ...go both ways! MCU -- Dorothy reacts, speaks as she startsforward -- DOROTHY Why.... LS -- Dorothy steps forward to the cornfield asshe speaks to the Scarecrow -- CAMERA TRUCKS forward -- DOROTHY ...you didsay something, didn't you? CS- The Scarecrow shakes his head, then nods --MLS -- Dorothy looking at the Scarecrow as he nods his head -- she speaks tohim -- DOROTHY Are you doing that on purpose, or can't you make up your mind?MCU -- The Scarecrow explains -- shows his straw head -- SCARECROW That's thetrouble. I can't make up my mind. I haven't got a brain -- only straw. MCS --Dorothy questions the Scarecrow o.s. in f.g. -- DOROTHY How can you talk ifyou haven't got a.... MCU -- Scarecrow speaks to Dorothy o.s.in f.g. --DOROTHY o.s. ...brain? SCARECROW I don't know. But some people without brainsdo an awful lot of talking, don't they? MCS -- Dorothy nods, speaks --DOROTHY Yes, I guess you're right. MLS -- Dorothy steps over the fence andinto the cornfield -- speaks as she steps up to the Scarecrow -- CAMERASTARTS forward -- DOROTHY Well, we haven't really met properly, have we? MCU-- Scarecrow -- SCARECROW Why, no. CS -- Dorothy curtsies, speaks -- DOROTHYHow do you do? CS -- Scarecrow nods, speaks -- SCARECROW How do you do? CS --Dorothy speaks -- DOROTHY Very well, thank you. MLS -- Dorothy standing infront of the Scarecrow -- the Scarecrow complains about his position --SCARECROW Oh, I'm not feeling at all well. You see, it's very tedious beingstuck up here all day long with a pole up your back. MCU -- Dorothy --DOROTHY Oh, dear -- that must be terribly uncomfortable. Can't you get down?MLS -- Scarecrow on pole -- Dorothy standing in front of him -- they speak --she moves around to the back of the pole -- SCARECROW Down? No, you see, I'm-- Well, -- I'm -- DOROTHY Oh, well, here -- let me help you. SCARECROW Oh,that's very kind of you -- very kind. CS -- Dorothy examining the back of theScarecrow as she tries to unfasten him -- DOROTHY Well, oh, dear -- I don'tquite see.... MCU -- The Scarecrow reacts, looks down at Dorothy o.s. DOROTHY
o.s. ...how I can -- SCARECROW Of course, I'm not bright about doing things,but if you'll just.... CS -- Dorothy starts to follow the Scarecrow'sdirections -- SCARECROW o.s. ...bend the nail down in the back, maybe I'llslip off and... DOROTHY Oh.... MLS -- Dorothy turns the nail and theScarecrow falls to the ground -- DOROTHY ...yes. SCARECROW Ohhhh -- DOROTHYOhh! MS -- The Scarecrow falls into scene -- Dorothy enters, questions him ashe puts back some straw into his coat that had dropped out -- the Scarecrowrises, starts to whirl about -- SCARECROW Whhhooops! Ha-ha -- there goes someof me again! DOROTHY Oh -- does it hurt you? SCARECROW Oh, no -- I just keeppicking it up and putting it back in again. DOROTHY Ohhh -- SCARECROW My,it's good to be.... MLS -- Dorothy screams as the Scarecrow whirls about andfalls over the cornfield fence -- she rushes to him -- the CAMERA TRUCKSforward as she kneels beside him -- they speak -- SCARECROW ...free! DOROTHYOh! Oh! Ohhh! SCARECROW Did I scare you? DOROTHY No, No -- I -- I justthought you hurt yourself. MCU -- Scarecrow -- shooting past Dorothy in rightf.g. SCARECROW But I didn't scare you? MCU -- Dorothy -- shooting past theScarecrow in left f.g. -- DOROTHY No -- of course not. MCU -- The Scarecrowreacts, speaks -- shooting past Dorothy in the right f.g. -- SCARECROW Ididn't think so. MCS -- The Scarecrow and Dorothy seated by fence -- a crowflies in from left and alights on the Scarecrow's shoulder -- MCU -- Dorothyreacts as she sees the crow o.s. -- SCARECROW o.s. Boo! Scat! MCS --Scarecrow and Dorothy -- the crow hops to the Scarecrow's shoulder, picks upsome of the Scarecrow's straw and flies away with it -- Scarecrow speaks toDorothy -- SCARECROW Boo! You see, I can't even scare a crow! They come frommiles.... MCU -- Dorothy listening -- SCARECROW o.s. ...around just to eat inmy field and laugh in my face! MCU -- The Scarecrow -- SCARECROW Oh, I'm afailure, because I haven't got a brain. MCU -- Dorothy reacts, speaks --DOROTHY Well, what would you do with a brain if you had one? MCS -- Scarecrowand Dorothy -- shot favoring the Scarecrow -- they speak -- he begins to sing-- CAMERA PULLS back as he rolls down to the Yellow Brick Road -- Dorothyrises, moves to him -- holds him up as he starts to fall -- SCARECROW Do?Why, if I had a brain, I could -- (sings) I could while away the hours,Conferrin' with the flowers, Consultin' with the rain. And my head I'd bescratchin' While my thoughts were busy hatchin' If I only had a brain. I'dunravel every riddle For any individ'le In trouble or in pain. CS -- Dorothyholds the Scarecrow as she sings -- shot favoring Dorothy -- DOROTHY (sings)With the thoughts you'll be thinkin' You could be another Lincoln If you onlyhad a brain. MCS -- Dorothy holding the Scarecrow as he sings -- he jumps,whirls about -- CAMERA TRUCKS forward as he goes into a sitting position,then PANS up with him as he rises beside Dorothy, continues to sing --SCARECROW (sings) Oh, I could tell you why The ocean's near the shore I couldthink of things I never thunk before, And then I'd sit -- and think somemore. I would not be just a nuffin' My head all full of stuffin' My heart allfull of pain. I would dance and be merry... MCS - Scarecrow and Dorothy - shewatches as he sings, dances about - he whirls, jigs about - falls to hisknees - Dorothy reacts - CAMERA TRUCKS forward as he dances back up theYellow Brick Road - then PULLS back as he comes forward to Dorothy again - hedances to left to the cornfield - CAMERA PANS left - he falls over the fence,then rolls back under it as Dorothy rushes to help him - he reacts, sits onthe curb of the road - SCARECROW (sings) ...Life would be a ding-a-derry If Ionly had a brain! MCS - The Scarecrow seated on curb of road as Dorothy looksdown at him - CAMERA PULLS back as he feels about his coat - Dorothy pointsto some of his straw on the road - a crow flies into the scene and lands nearthe straw - the Scarecrow reacts - MCS - The Scarecrow trembles with fear asDorothy tries to comfort him - MCU - The crow picks up the straw and flies up
-- MLS - Dorothy and the Scarecrow react as the crow flies out to left withthe straw in his mouth - CAMERA BOOMS up to left as the Scarecrow rises, goesto the fence and shakes his fist at the crow flying over the cornfield in theb.g. - MLS - The Scarecrow dances back to right along the road as the CAMERAPULLS back, PANS right with him - Dorothy rushes to him, stops him and pointso.s. to left - LS - The crow lands in the cornfield - MCS - Dorothy and theScarecrow looking o.s. to left - the Scarecrow reacts, assures Dorothy - thenthe CAMERA PULLS back as he dances forward, gains momentum and runs out toleft - LS - The Scarecrow runs to left, makes a big jump over the cornfieldas the CAMERA PANS with him - MLS - The Scarecrow jumps in from right andlands in the cornfield - several crows fly out of the corn - MS - Dorothyruns forward to the fence, reacts as she looks o.s. to f.g. - MS - TheScarecrow moves to right through the corn stalks - CAMERA TRUCKS right - hebends down, finds his straw and stuffs it back into his coat - MLS - TheScarecrow runs forward, jumps into the air and flies out to right f.g. - LS -The Scarecrow soars over the field to the road - Dorothy waves to him MS -The Scarecrow falls into the scene as he lands on the Yellow Brick Road -CAMERA PULLS back as Dorothy rushes to him - the Scarecrow begins to danceagain, doing a series of splits - CS - Toto jumps on a pumpkin, starts itrolling out onto the Yellow Brick Road at right - CAMERA PANS right - LS -Toto follows the pumpkin as it rolls forward down the road - CAMERA PULLSback between the Scarecrow's legs - the pumpkin hits the Scarecrow, hittingthe Scarecrow up out of scene - Dorothy looks on, frightened - LS - CAMERAPANS up with the Scarecrow as he soars up into the air - LS - Shooting downfrom the Scarecrow's angle to Dorothy as she looks up o.s. - MS - CAMERA PANSdown with the Scarecrow as he falls back toward the road - exits out of shot- MLS - The Scarecrow falls back into scene and lands on the Yellow BrickRoad - he runs out to left - MLS - CAMERA PULLS back before the Scarecrow ashe dances forward, bumping into one side of fence, then bouncing from that tothe fence on the other side of road, then back to the fence at left, and soon down the road - CAMERA PANS right with him as he runs forward past Dorothyand falls through a fence which breaks under his weight - CS - The Scarecrowsits up, looks about - blinks his eyes - CS - Dorothy reacts as she startsforward, looks o.s. to f.g. - REVERSE ACTION shot of Scene 93 (MLS - CAMERAPULLS back before the Scarecrow as he dances forward, bumping into one sideof fence, then bouncing from that to the fence on the other side of road,then back to the fence at left, and so on down the road - CAMERA PANS rightwith him as he runs forward past Dorothy and falls through a fence whichbreaks under his weight) MLS - The Scarecrow bounces off a fence rail andstarts to dance forward down the road as he sings - CAMERA PULLS back aheadof him - Dorothy entered - he sings to her - some straw falls from his coat -the Scarecrow slumps to the ground - Dorothy starts to bend down - SCARECROW(sings) Gosh, it would be awful pleasin' To reason out the reason For thingsI can't explain. Then perhaps I'll deserve you, And be even worthy erv you IfI only had a brain. MLS -- Ext. Yellow Brick Road -- Dorothy rushes to theScarecrow lying on the road -- she picks up some of his straw -- kneels byhim -- CS -- Dorothy kneeling by the Scarecrow -- she speaks as she helps himput back some of the straw -- they react -- Scarecrow half-rises -- DOROTHYWonderful! Why, if our Scarecrow back in Kansas could do that, the crows'd bescared to pieces! SCARECROW They would? DOROTHY Um-hmm. SCARECROW Where'sKansas? DOROTHY That's where I live. And I want to get back there so badlyI'm going all the way to Emerald City to get the Wizard of Oz to help me.SCARECROW You're going to see a Wizard? DOROTHY Um-hmm. SCARECROW Do youthink if I went with you this Wizard would give me some brains? DOROTHY Icouldn't say. But even if he didn't, you'd be no worse off than you are now.
SCARECROW Yes -- that's true. DOROTHY But maybe you'd better not. I've got awitch mad at me, and you might get into trouble. SCARECROW Witch? Huh! I'mnot afraid of a witch! I'm not afraid of anything --- except a lighted match.DOROTHY I don't blame you for that. SCARECROW But I'd face a whole box fullof them for the chance of getting some brains. Look -- I won't be anytrouble, because I don't eat a thing -- and I won't try to manage things,because I can't think. Won't you take me with you? MCU -- Dorothy -- shootingpast Scarecrow in right f.g. DOROTHY Why, of course I will! LS -- Dorothy andthe Scarecrow rise from the road -- the Scarecrow jumps up -- yells --Dorothy holds him up -- they speak -- they start to sing -- CAMERA BOOMS toleft as they walk down the road and exit to b.g. -- SCARECROW Hooray! We'reoff to see a Wizard! DOROTHY Oh -- well -- you're not starting out very well.SCARECROW Oh, I'll try! Really, I will. DOROTHY To Oz? SCARECROW To Oz! BOTH(sing) We're off to see the Wizard The Wonderful Wizard of Oz We hear he is awhiz of a Wiz If ever a Wiz there was If ever oh ever a Wiz there was, TheWizard of Oz Is one because Because, because, because, because, becauseBecause of the wonderful things he does. We're off to see the Wizard TheWonderful Wizard of Oz! LAP DISSOLVE TO: LS -- Dorothy and Scarecrow comeforward along Yellow Brick Road -- CAMERA PULLS back to show Wicked Witchhiding behind tree at left -- she turns, exits to left -- Dorothy reacts asshe sees the apple orchard at right - she goes up to one of the trees --CAMERA STARTS TO BOOM forward on her -- DOROTHY Oh -- apples -- Oh look! Oh.Oh --- MCS -- Dorothy standing by the First Tree -- she picks an apple off --reacts as the tree takes the apple back and slaps Dorothy's hand -- DOROTHYOuch! MCU -- First Tree opens its "mouth" -- speaks to Dorothy o.s. -- TREEWhat do you think you're doing? MCS -- Dorothy replies to the tree -- thenreacts -- DOROTHY We've been walking a long ways and I was hungry and -- Didyou say.... MCU -- The First Tree -- gestures as it speaks -- FIRST TREEShe.... MLS -- Scarecrow and Dorothy standing before the First Tree as itspeaks to the Second Tree in b.g. -- FIRST TREE ...was hungry! Well, howwould you like to have someone come along and pick something off of you? MCU-- Scarecrow and Dorothy react, speak as they look o.s. at the tree --DOROTHY Oh, dear -- I keep forgetting I'm not in Kansas. SCARECROW Comealong, Dorothy -- you don't want any of those apples. Hmm! MCU -- First treereacts, and speaks -- FIRST TREE What do you mean - she doesn't want any ofthose apples? Are you hinting my apples aren't what they ought to be? MCU --Scarecrow and Dorothy -- SCARECROW Oh, no! It's just that she doesn't likelittle green.... MCU -- The Tree reacts, makes a grab for the two o.s. --SCARECROW o.s. ...worms! TREE Oh.... MLS -- The First Tree grabs for the two-- the Scarecrow fights him off as Dorothy runs out to right f.g. -- theScarecrow follows her out -- TREE ...you... SCARECROW Go -- Go! TREE ...Oh --Help -- let me out. I'll give you little green.... MCS -- Dorothy -- theScarecrow backs in from left f.g. -- gestures at the Trees o.s. -- speaks --then makes faces at the trees -- TREE o.s. ...worms. SCARECROW I'll show youhow to get apples. TREE o.s. You can't.... MS -- The First tree winds up,throws apples o.s. to f.g. -- TREE ...do that to me! I'll.... MCS --Scarecrow and Dorothy react as the apples begin to hit them -- the Scarecrowfalls back to the road -- TREE o.s. ...show you! LS -- Shooting past theTrees at left as they throw apples at Scarecrow and Dorothy and Toto in theb.g. -- The Scarecrow rises, dodges about -- TREES You can't do that! Youcan't do that! Hey! CS -- First Tree laughs as it throws apples to f.g. --SCARECROW o.s. Hooray! LS -- Shooting past the Trees at left as they throwapples at the Scarecrow and Dorothy in the b.g. -- Scarecrow picks them up --SCARECROW Hooray! I guess that did it! Help yourself. DOROTHY Oh -- MS --Dorothy comes forward as she picks up the apples -- CAMERA PANS and TRUCKS
forward as she starts to pick up two apples -- she sees a tin foot -- reacts-- examines it -- CAMERA PULLS back and BOOMS up as she stands up by the TinMan -- Scarecrow comes in from left -- CAMERA PULLS back as they examine him-- he tries to speak -- Dorothy picks up the oil can -- DOROTHY Why, it's aman! A man made out of tin! SCARECROW What? DOROTHY Yes. Oh -- look -- TINMAN Oil can.....Oil can.... DOROTHY Did you say something? TIN MAN Oilcan.... SCARECROW Oil can what? DOROTHY Oil can? Oh -- oh, here it is! MCS --Scarecrow and Dorothy examine the Tin Man -- he tries to speak -- they oilhim about the mouth -- DOROTHY Where do you want to be oiled first? TIN MANMy mouth -- my mouth! SCARECROW He said his mouth. DOROTHY Here -- here --SCARECROW The other side.... DOROTHY Yes --- there. CU -- The Tin Man triesto speak -- squeaks out a few sounds -- TIN MAN Mm.....mm...mm.... MCS --Dorothy and Scarecrow listen as the Tin Man starts to speak -- Dorothy startsto pull the axe arm of the Tin Man down -- Scarecrow oils him -- TIN MAN...m...m...my, my, my, my goodness -- I can talk again! Oh -- oil my arms,please -- oil my elbows. DOROTHY Oh... MLS -- Dorothy lowers the right arm ofthe Tin Man so that it hangs naturally -- Scarecrow busy with the oil can --the Tin Man begins his story -- TIN MAN Oh -- DOROTHY ...Oh, did that hurt?TIN MAN No -- it feels wonderful. I've held that axe up for ages. Oh ---DOROTHY Oh, goodness! How did you ever get like this? TIN MAN Oh -- well,about a year ago -- I was chopping that tree -- minding my own business --when suddenly it started to rain.... MCS -- Scarecrow and Dorothy listen tothe Tin Man -- he grows weak -- they work his arms back and forth --Scarecrow oils his neck for him -- Dorothy raps on the Tin Man's chest --they react -- Tin Man explains, then steps backward toward tree -- TIN MAN...and right in the middle of a chop, I...I rusted solid. And I've been thatway ever since. DOROTHY Well, you're perfect now. TIN MAN My...my neck.My...my neck. Perfect? Oh -- bang on my chest if you think I'm perfect. Goahead -- bang on it! DOROTHY Oh --! SCARECROW Beautiful! What an echo! TINMAN It's empty. The tinsmith forgot to give me a heart. DOROTHY AND SCARECROWNo heart? TIN MAN No heart. DOROTHY Oh -- TIN MAN All hollow. Oh -- CS -- TinMan falls back as Scarecrow and Dorothy enter to help him -- he holds themoff -- begins to sing -- TIN MAN (sings) When a man's an empty kettle, Heshould be on his mettle. And yet I'm torn apart. Just because I'm presumin'That I could be kind-a human, If I only had a heart. MCU -- Tin Man leansover toward Dorothy and sings as CAMERA PANS left slightly -- then leans back-- TIN MAN (sings) I'd be tender -- I'd be gentle And awful sentimentalRegarding Love and Art I'd be friends with sparrows... CS -- Dorothy andScarecrow listening to the Tin Man -- he comes forward slightly -- reacts ashe hears Snow White's Voice o.s. -- then continues with song -- TIN MAN(sings) ...And the boy who shoots the arrows If I only had a heart. Pictureme....a balcony....Above a voice sings low. SNOW WHITE'S VOICE Wherefore artthou, Romeo? TIN MAN I hear a beat....how sweet! Just to register emotionJealousy -- Devotion -- And really feel the part, I could stay young andchipper, And I'd lock it with a zipper, If I only had a heart...! MLS --Dorothy, Tin Man and Scarecrow -- the Tin Man Comes forward as he starts hisdance -- Dorothy and Scarecrow -- CAMERA PULLS back -- he stops as one of hisjoints sticks -- Dorothy oils it -- Tin Man comes forward a few more steps,then the other knee sticks -- they oil that for him -- he thanks them --CAMERA PULLS back, PANS left as he runs backwards down the road and startshis dance -- MCS -- Dorothy and Scarecrow watching o.s. to left f.g. MLS --Shooting past Scarecrow and Dorothy at right to the Tin Man as he dancesbefore them -- MLS -- CAMERA PANS slightly with the Tin Man as he dancesabout -- he taps his chest, makes the whistle in his funnel hat blow -- thencontinues to dance -- MCS -- Dorothy and the Scarecrow look at each other
with amazement as they watch the dance of the Tin Man -- Dorothy whispers tothe Scarecrow -- MLS -- The Tin Man dancing -- he jumps forward slightly,folds his arms, then locks in that position -- starts to lean to left -- MLS-- CAMERA PANS Dorothy and Scarecrow as they rush to left to help the Tin Man-- they catch him in time -- he starts to fall in the other direction -- theyrush around to catch him, but he now starts to fall to the other side -- thisbusiness is repeated -- then CAMERA PANS to right as the Tin Man stumblestoward b.g. -- Scarecrow tries to get out of the way and falls over --Dorothy grabs the Tin Man's hand -- DOROTHY Oh -- MCS -- The Tin Man sitsdown -- Dorothy reacts, speaks with him -- Scarecrow enters from left --Dorothy oils the Tin Man some more, then asks him to go to the Emerald City,too -- then all react as the Witch laughs o.s. -- they rise to their feet asCAMERA PANS up to the right to the Witch standing on the roof of Tin Man'scottage -- DOROTHY Oh, oh, oh, oh, oh, oh, oh, are you all right? TIN MAN I'mafraid I'm a little rusty yet. DOROTHY Oh, dear -- That was wonderful! Youknow -- we were just wondering why you couldn't come to Emerald City with usto ask the Wizard of Oz for a heart. TIN MAN Emerald City? Why, that's a longand dangerous journey. And it might rain on the way. SCARECROW But you'vejust been saying how much you want a heart. DOROTHY And I'll keep the oil-canhandy. TIN MAN Well, suppose the Wizard wouldn't get me one when we gotthere? DOROTHY Oh, but he will! He must! We've come such a long way already.(Witch laughs o.s.) TIN MAN Ohh -- what's that? Oh -- WITCH You call thatlong? MLS -- The Witch on the Tin Man's roof -- she speaks as she looks o.s.to f.g. -- WITCH Why, you've just begun! Forgotten about me,.... MCS - TinMan, Dorothy and Scarecrow react as the Witch speaks o.s. - WITCH o.s. ...eh?Well, I haven't forgotten about you! CS -- The Witch speaks to the three o.s.in f.g. -- WITCH Helping the little lady along, are you, my fine gentlemen?MCS -- Tin Man, Dorothy and Scarecrow -- WITCH o.s. Well, stay away from her!CS -- Witch speaks, points at the Scarecrow o.s. -- WITCH Or I'll stuff amattress with you! MCS -- Tin Man, Dorothy and Scarecrow -- Tin Man points tothe trembling Scarecrow -- then the Tin Man reacts -- points to himself --WITCH o.s. And you! I'll use you for a bee-hive! (laughs) CS -- The Witchspeaks, throws a ball of fire o.s. -- WITCH Here, Scarecrow! Want to playball? LS -- Dorothy, Tin Man, Scarecrow standing at left as the Witch on theroof throws down a ball of fire at them -- she laughs gleefully -- CS - Witchspeaks to Dorothy o.s. - WITCH And as for you, my little.... MLS - Tin Manputting out the fire as Dorothy helps the Scarecrow, who is rolling about inthe grass - she reacts as Witch speaks o.s. - WITCH o.s. ...Dorothy, Iwish.... MCU - Dorothy hugs Toto tightly as Witch speaks o.s. - WITCH o.s....you luck with the Wizard of Oz. And a.... CS - Witch speaks to Dorothyo.s. - then laughs - WITCH ...happy journey back to Kansas! MLS -- The Witchlaughs -- sits on her broomstick in a position to fly away -- smoke fills theshot, obscuring Witch from sight -- Ext. Forrest -- CS -- Dorothy holdingToto in her arms -- watching o.s. LS -- Cloud of smoke as Witch disappears --MS -- The Tin Man -- Dorothy and Scarecrow looking o.s. -- CAMERA TRUCKSforward on them -- Tin Man and Scarecrow speak -- snap their fingers -- TinMan reacts to buzzing sound -- SCARECROW I'm not afraid of her. I'll see youget safely to the Wizard now, whether I get a brain or not! Stuff a mattresswith me! Hah! TIN MAN I'll see you reach the Wizard, whether I get a heart ofnot. Bee-hive -- bah! Let her try and make a bee-hive out of me! You know --Hmm? What's that? MLS - Tin Man and Scarecrow sitting down - Dorothy in b.g.near tree - comes forward as Tin Man and Scarecrow rise - she speaks - reactswhen she sees bee on her arm - turns around as Tin Man takes bee off her arm- TIN MAN Oh! They're - they're gone now. DOROTHY Oh, goodness! Did any ofthem sting you? TIN MAN I - I guess they tried to, but they bent their
stingers. DOROTHY Oh, dear. I don't know what I'd do if a whole swarm kept --Oh! Oh! Oh, there's one on me! TIN MAN Oh - I'll get it! DOROTHY Oh! Oh! CS -Scarecrow - Dorothy and Tin Man - Tin Man looks at dead bee in his hand -speaks and cries - DOROTHY Oh -- TIN MAN Oh, see - I killed it. Oh, I killedthat poor little honey bee! DOROTHY Oh-oh- CU - Tin Man crying - speaks - TINMAN It's only a man without a head who could do a thing like that. Poorlittle bee. CU - Dorothy reacts - reaches o.s. - DOROTHY Oh, there.... CU -The Tin Man as Dorothy reaches in - wipes away his tears - DOROTHY ...there.Don't cry. There. CU - Dorothy looks o.s. - speaks - DOROTHY As a matter offact, that's just an old drone bee, and it would have died.... CU - Tin Manlooks o.s. - DOROTHY o.s. ...anyway. TIN MAN Yes? DOROTHY o.s. You put it outof its misery. TIN MAN Oh. DOROTHY o.s. It's.... CS - Scarecrow - Dorothy andTin Man - they speak and laugh - DOROTHY ...just that the Witch is so wicked.I don't think you two ought to come with me because you'll get into trouble.SCARECROW Oh, you don't think we're going to stand by and let her get awaywith fireballs and bees, do you? TIN MAN No, sir! SCARECROW No, sir! DOROTHYOh, you're the best friends anybody ever had! And it's funny, but I feel asif I've known you all the time. But I couldn't have, could I? SCARECROW Idon't see how. You weren't around when I was stuffed and sewn together, wereyou? TIN MAN And I was standing over there rusting for the longest time.DOROTHY Still, I wish I could remember. But, I guess it doesn't matteranyway. We know each other now, don't we? SCARECROW That's right. TIN MAN Wedo. SCARECROW To Oz? TIN MAN To Oz! MLS -- Scarecrow -- Dorothy and Tin Man -- CAMERA PANS right as they dance down to brick road -- Scarecrow picks upbasket -- CAMERA TRUCKS back as they dance forward -- then turn and go uproad to b.g. -- exit -- THE THREE (sing) We're off to see the Wizard TheWonderful Wizard of Oz We hear he is a whiz of a Wiz If ever a Wiz there was.If ever, oh ever a Wiz there was The Wizard of Oz is one because Because,because, because, because, because Because of the wonderful things he doesWe're off to see the Wizard The Wonderful Wizard of Oz! LAP DISSOLVE TO: LS -- Int. Dark and Eerie Forest -- Tin Man -- Dorothy and Scarecrow walkingforward down brick road -- LAP DISSOLVE TO: LS -- Tin Man -- Dorothy andScarecrow walking forward slowly -- MCS -- Tin Man -- Dorothy and Scarecrowstop -- look around off screen -- Dorothy frightened -- speaks -- DOROTHY Idon't like this forest! It's -- it's dark and creepy! SCARECROW Of course, Idon't know, but I think it'll get darker before it gets lighter. DOROTHY Do -- do you suppose we'll meet any wild animals? TIN MAN We might. DOROTHY Oh --SCARECROW Animals that -- that eat straw? TIN MAN Some -- but mostly lions,and tigers, and bears. CU -- Dorothy reacts -- DOROTHY Lions? CU -- Scarecrowreacts -- speaks -- SCARECROW And tigers? CU -- Tin Man looks o.s. -- speaks-- TIN MAN And bears. MCS -- Tin Man -- Dorothy and Scarecrow -- Dorothyfrightened -- DOROTHY Oh! Lions and tigers and bears! MLS -- Tin Man --Dorothy and Scarecrow walk forward along brick road -- CAMERA PANS them toright -- they react to growl o.s. -- DOROTHY Oh, my! TIN MAN -- SCARECROW ANDDOROTHY Lions and tigers and bears! DOROTHY Oh, my! TIN MAN -- SCARECROW ANDDOROTHY Lions and tigers and bears! DOROTHY Oh, my! TIN MAN -- SCARECROW ANDDOROTHY Lions and tigers and bears! DOROTHY Oh, my! TIN MAN -- SCARECROW ANDDOROTHY Lions and tigers and bears! DOROTHY Oh, my! (screams) MCS -- Tin Man-- Dorothy and Scarecrow frightened -- speak -- look o.s. -- react -- TIN MANAnd bears! DOROTHY What sort of an animal is that? TIN MAN It-it-it-it - it'sa huge one! SCARECROW D-d-d-don't be fr-fr-frightened. I - I'll - I'llprotect you. Oh, look! LS -- Lion on fallen tree -- Dorothy -- Scarecrow andTin Man in f.g. on brick road -- the lion jumps toward them -- CAMERA TRUCKSback as they three move back -- the Lion takes two great leaps -- lands onthe brick road -- Tin Man and Scarecrow fall at side of road -- Dorothy hides
behind tree -- (Lion growling) CU -- Lion growling -- CS -- Scarecrowtrembling -- CU -- Lion growling -- CU -- Dorothy looks out around tree --reacts -- CU -- Lion growling -- CS -- Tin Man trembling -- CS -- Lion sneers-- CAMERA PANS as he stands on his hind legs -- puts up his paws -- speaks --LION Put 'em up! Put 'em.... LS -- Lion -- Tin Man and Scarecrow -- Dorothyback of tree in b.g. -- CAMERA TRUCKS forward -- Lion speaks and gestures --LION ...up! Which one of you first? I'll fight you both together if you want!I'll fight you with one paw tied behind my back. I'll fight you standing onone foot. MCS -- Lion speaks -- CAMERA PANS him to right to Tin Man --Dorothy in b.g. -- LION I'll fight you with my eyes closed. Oh -- pulling anaxe on me, eh? MCU -- Tin Man trembling -- MCS -- Lion speaks -- CAMERA PANShim left to Scarecrow -- Dorothy in b.g. watching -- PANS lion to right toTin Man -- LION Sneaking up on me, eh? Why! (snarls) TIN MAN Here -- here. Go'way and let us alone! LION Oh, scared, huh? CU -- Dorothy looks out fromaround tree -- reacts -- LION o.s. Afraid, huh? MCS -- Lion and Tin Man --Lion speaks and laughs -- CAMERA PANS him to left to Scarecrow -- Dorothy inb.g. LION How long can you stay fresh in that can? (laughs) Come on -- get upand fight, you shivering junk yard! Put your hands up, you lop-sided bag ofhay! CS -- Scarecrow reacts -- speaks -- SCARECROW Now that's gettingpersonal, Lion. MCU -- Tin Man looks o.s. -- speaks -- TIN MAN Yes -- get upand teach him a lesson. MCS -- Scarecrow and Lion -- Dorothy in b.g. --SCARECROW Well -- what's -- wrong with you teaching him? MCU -- Tin Manreacts -- speaks -- TIN MAN Well -- well --, I hardly know him. CS -- Totobarking -- CU -- Lion snarls -- speaks LION Well, I'll get you, anyway, Pee-Wee. CU -- Dorothy reacts -- exits left f.g. -- MLS -- Lion and Dorothy --Toto runs into shrubs -- Lion starts after him -- Dorothy picks up Toto --comes forward over to Scarecrow and Tin Man -- CAMERA PANS left as Lionstarts for Toto -- Dorothy slaps his hand -- he backs away -- crying --DOROTHY Shame on you! MCU -- Lion -- Camera shooting past Dorothy at leftf.g. -- Lion crying -- speaks -- LION What -- what did you do that for? Ididn't bite him. DOROTHY No, but you tried to. CS -- Dorothy and Lion --CAMERA PULLS back -- Scarecrow and Tin Man enter at left -- Dorothy speaks toLion -- he cries and speaks -- DOROTHY It's bad enough picking on a strawman, but when you go around picking on poor little dogs -- LION Well, youdidn't have to go and hit me, did you? Is my nose bleeding? DOROTHY Well, ofcourse not. My goodness, what a fuss you're making. Well, naturally, when yougo around picking on things weaker than you are -- Why, you're nothing but agreat big coward! LION You're right -- I am a coward. MCU -- Lion -- Camerashooting past Dorothy -- Lion crying -- speaks -- LION I haven't any courageat all. I even scare myself. Look at the circles under my eyes. MS -- Tin Man-- Scarecrow -- Dorothy and Lion -- they speak -- Lion crying -- LION Ihaven't slept in weeks. TIN MAN Why don't you try counting sheep? LION Thatdoesn't do any good -- I'm afraid of 'em. SCARECROW Oh, that's too bad. Don'tyou think the Wizard could help him, too? DOROTHY I don't see why not. Whydon't you come along with us? We're on our way to see the Wizard now. To gethim a heart. TIN MAN And him a brain. DOROTHY I'm sure he could give you somecourage. MCU -- Lion -- Camera shooting past Dorothy -- LION Well, wouldn'tyou feel degraded to be seen in the company of a cowardly lion? I would. CS -- Dorothy -- Tin Man and Scarecrow -- Camera shooting past Lion at right f.g.-- DOROTHY No, of course not. MCS -- Tin Man -- Dorothy -- Scarecrow and Lion-- LION Gee, that's -- that's awfully nice of you. My life.... MLS -- Dorothyand Group -- Dorothy puts Toto down -- Lion Sings as the four walk and dancealong brick road to right -- CAMERA TRUCKS with them -- LION ...has beensimply unbearable. DOROTHY Oh. LION (sings) Yeh, it's sad, believe me, MissyWhen you're born to be a sissy, Without the vim and verve. But I could show
my prowess -- Be a lion not a mou-ess -- If I only had the nerve I'm afraidthere's no denyin' I'm just a dande-lion -- A fate I don't deserve. I'd bebrave as a blizzard -- TIN MAN (sings) I'd be gentle as a lizard -- SCARECROW(sings) I'd be clever as a gizzard -- DOROTHY (sings) If the Wizard is aWizard who will serve. CS -- Tin Man and Scarecrow sing -- CAMERA PANS toright to Dorothy and Lion -- SCARECROW (sings) Then I'm sure to get a brain -- TIN MAN (sings) A heart -- DOROTHY (sings) A home -- LION (sings) Thenerve. MLS -- Scarecrow -- Tin Man -- Dorothy and Lion sing as they danceforward along brick road -- CAMERA TRUCKS ahead -- ALL (sing) Oh, we're offto see the Wizard The Wonderful Wizard of Oz. We hear he is a whiz of a WizIf ever a Wiz there was.... LS -- Dorothy -- Lion -- Tin Man and Scarecrowdance down brick road to b.g. -- all exit -- ALL (sing) ...If ever, oh ever,a Wiz there was The Wizard of Oz is one because Because, because, because,because, because Because of the wonderful things he does! We're off to seethe Wizard The Wonderful Wizard of Oz! Camera on Crystal -- the images of TinMan -- Dorothy -- Scarecrow and Lion in crystal as they march along arm inarm -- CAMERA TRUCKS back showing the Witch and Nikko looking into crystal --Witch laughs -- CAMERA PANS her left to table -- she mixes poison -- CAMERAPANS her to right to Crystal -- She holds poison over the crystal -- wavesher hand over it -- the images of group fade out -- Poppy Field fades in --CAMERA TRUCKS forward on Crystal -- WITCH A-hah! (laughs) So! You won't takewarning, eh? All the worse for you, then. I'll take care of you now insteadof later! Hah! When I gain those ruby slippers, my power will be the greatestin Oz! And now, my beauties! Something with poison in it, I think. Withpoison in it, but attractive to the eye -- and soothing to the smell!(laughs) Poppies! Poppies! Poppies! LAP DISSOLVE TO: LS -- Poppy Field --CAMERA PANS up -- then PANS left over field -- to edge of forest -- Dorothy -- Scarecrow -- Lion and Tin Man coming forward out of forest -- MCS --Dorothy -- Lion -- Tin Man and Scarecrow all looking o.s. -- Dorothy speaks -- DOROTHY There's Emerald.... ELS -- Shooting over Poppy Field to towers ofEmerald City -- Dorothy and Group in f.g. -- DOROTHY ...City! Oh, we'realmost there at last! At last! MCS -- Dorothy -- Lion -- Tin Man andScarecrow -- they speak -- DOROTHY It's beautiful, isn't it? Just like I knewit would be. He really must be a wonderful Wizard to live in a City likethat! LION Well, come on, then. What are we waiting for? SCARECROW Nothing!Let's hurry! LS -- Dorothy -- Tin Man -- Scarecrow and Lion run to b.g. thrupoppy field -- DOROTHY Yes -- let's run! LION Yes. MLS -- Tin Man --Scarecrow -- Dorothy and Lion running forward thru Poppy Field -- CAMERATRUCKS right -- MS -- Tin Man and Scarecrow running thru poppies -- CAMERATRUCKS right -- both gesture -- SCARECROW Come on -- come on -- TIN MAN Hurry-- hurry -- MS -- Dorothy and Lion running thru poppies -- CAMERA TRUCKSright -- MS -- Dorothy running to right -- staggers a little -- slows down --ELS -- Scarecrow and Tin Man running forward thru poppy field -- Lion in b.g.-- Dorothy enters in far b.g. -- Scarecrow and Tin Man stop on hill -- calland gesture SCARECROW Oh! Oh, come on, come on! TIN MAN Look -- you can seeit here. It's wonderful! SCARECROW Emerald City! MLS -- Dorothy runningslowly to right -- CAMERA PANS her to Lion -- Tin Man and Scarecrow --Dorothy staggers -- puts her hand to her head -- DOROTHY Oh -- Oh -- what'shappening? What is it? MCU -- Dorothy puts her hand to her head -- speaks --DOROTHY I can't run anymore. I'm so.... CS -- Tin Man and Scarecrow --DOROTHY o.s. ...sleepy. SCARECROW Here -- give us your hands, and we'll pullyou.... MLS -- Dorothy and Group -- SCARECROW ...along. DOROTHY Oh, no --please. I have to rest for just a minute. Toto! CS -- Toto lying amongpoppies -- DOROTHY o.s. Where's Toto -- MLS -- Dorothy and Group -- Dorothylies down among the poppies -- SCARECROW Oh, you can't rest now -- we're
nearly there! MCU - Lion yawns and speaks - LION What did she -- do that for?The images of Lion - Tin Man - Scarecrow and Dorothy in Crystal - they speak- CAMERA TRUCKS back showing Witch and Nikko standing near crystal - Witchlaughs and speaks - the images fade out - Nikko exits - CAMERA TRUCKS forwardon Witch - SCARECROW Hey, Dorothy! TIN MAN Dorothy! LION Dorothy! TIN MANDorothy! You can't sleep here! You can't sleep in the middle of a field!WITCH (laughs) Call away! Call away! She won't hear any of you again! Andthere's nothing you can do about it, either. (laughs) Bring me my wishingcap! I'll call the Winged Monkeys to fetch me those slippers! Hurry! Hurry!Hurry! Hurry! It worked very smoothly! LAP DISSOLVE TO: MLS -- Lion -- TinMan and Scarecrow -- Dorothy lying in poppies -- Lion starts to cry --Scarecrow speaks -- holds the Lion up -- Lion drops as Tin Man and Scarecrowstart to pick up Dorothy -- TIN MAN (crying) Oh - oh, poor Dorothy! SCARECROWDon't cry -- you'll rust yourself again! LION Comin' to think of it, fortywinks wouldn't be bad. SCARECROW Don't you start it, too! TIN MAN Oh! Weought to try and carry Dorothy. SCARECROW I don't think I could, but we couldtry. TIN MAN Let's. SCARECROW Yes. TIN MAN Oh -- now look at him! This isterrible! SCARECROW Here, Tin Man -- help me. CS -- Dorothy as Scarecrowtries to lift her -- MLS -- Tin Man and Scarecrow -- Dorothy and Lion lyingamong poppies -- Tin Man and Scarecrow react -- call for help -- SCARECROWOh, this is terrible -- can't budge her an inch! This is a spell, this is!TIN MAN It's the Wicked Witch! What'll we do? Help! HELP! SCARECROW It's nouse screaming at a time like this! Nobody will hear you! Help! LS -- Tin Manand Scarecrow on top of hill -- crying for help -- Superimposed shot of theGood Witch as she waves wand -- snow starts to fall -- SCARECROW HELP --HELP! CS -- Dorothy lying among poppies -- snow falling on her SCARECROW o.s.Help! Help! LS -- Tin Man and Scarecrow on top of hill -- Superimposed shotof the Good Witch waving wand -- snow falling -- The Superimposure fades out-- SCARECROW o.s. Look - It's snowing! It isn't snowing. It couldn't be! Butit is! No, it isn't! Yes, it is! Oh, maybe that'll help! CS -- Dorothy lyingamong poppies -- snow falling on her -- she opens her eyes -- SCARECROW o.s.Oh, but it couldn't help. MCS -- Scarecrow looking down o.s. -- snow falling-- CAMERA PANS as he kneels down to Dorothy -- she wakens -- sits up -- Lionsits up in b.g. -- Dorothy looks o.s. to left -- CAMERA PANS up to Tin Man --then PULLS back -- Dorothy jumps up -- takes oil can from basket -- they oilthe Tin Man -- SCARECROW It does help. Dorothy, you're waking up! DOROTHY Oh-- LION Oh -- unusual weather we're having, ain't it? DOROTHY Look! He'srusted again. Oh, give me the oil can -- quick! Oh-oh, quick! SCARECROW Yes -- there -- DOROTHY Oh -- here quick -- oh! - we'll oil him up. MCS -- Imagesof Tin Man -- Dorothy -- Scarecrow and Lion in Crystal -- CAMERA TRUCKS backshowing Witch and Nikko looking into Crystal -- The Witch reacts -- speaks --the images fade from Crystal -- SCARECROW -- A hot water bottle would be goodif we had one. DOROTHY Oh, he's been crying! Why have you been -- WITCH Curseit! Curse it! Somebody always helps that girl! But shoes or no shoes, I'mstill great enough to conquer her. And woe to those who try to stop me! LAPDISSOLVE TO: LS -- Dorothy -- Lion -- Scarecrow and Tin Man on hill in PoppyField -- Dorothy speaks -- all react to voices singing -- The four of themcome forward down hill -- DOROTHY Come on -- let's get out of here! Look --Emerald City is closer and prettier than ever!
...Yellow Brick Follow the Yellow Brick Road. You're off to see the WizardThe Wonderful Wizard of Oz You'll find he is a whiz of a Wiz If ever a Wizthere was. If ever oh ever a Wiz there was The Wizard of Oz Is one becauseBecause, because, because, because, because... Because of the wonderfulthings he does....
A philosophy of filmmaking must create a novel from a screenplay script.Creating a novel from a series of short stories must see back from the end.
A short story -- even a series of short stories with the same setting and maincharacter -- was different in scope from a novel. A short story usually hangs by oneincident or revelation. A novel, however, needs an overarching story, deep and bigenough to encompass everything else, especially the ongoing development over time ofrelated characters and themes. The engine of this unifying story had to includecontinuing tension arising from a major conflict, too, enough to keep the readerturning the novel's pages. (p. 116)[C. J. Shields. Mockingbird: A Portrait of Harper Lee, c. 2006, paper]
… Hitchcock was only a technician, … not a thinker with any real philosophic scope. …What holds [sic] it all together are ideas … [that] manifest his kind of realism andhis use of formalistic methods. (p. 71) [I. Singer. Three Philosophical Filmmakers:Hitchcock …
I. Sonnet LIII. William Shakespeare. [Complete Works, c. 1975](p. 1200)
What is your substance, whereof are you made,That millions of strange shadows on you tend?Since every one hath, every one, one's shade,And you, but one, can every shadow lend.
II. The Dream
A Guy like me. 1 Birth-boy meets girlMy Guy like me. 2 Purity-boy gets girlThe Guy like me. 3 Trial-boy loses girlThat Guy like me. 4 Contest-guy gets gayThis Guy like me. 5 Triumph-girl gets guyAny Guy like me. 6 Birth-girl shot guyHer Guy like me. 7 Purity-girl gets boyHis Guy like me. 8 Trial-girl loses boyNo Guy like me. 9 Contest-girl goes jailSo Guy like me. 10 Triumph-boy misses girl
III. Conclusion
This story begins with the death of Edwin Lee, the brother of Harper Lee.What would have happened if Dill, Truman Capote, had died by her hand?In a world of ideas, the odd couple -- Dill and Scout go on to New York and Jem thenon gay is left to live out his life, missing the life he could have had. If Jem hadnot died, what then? We look out from the artist world upon the living. Who is thedead? What life of realism could be with more formalism? Structure is what we areseeking for this story.
